Beats Новости

Hard Electronic Experimentation, Beatfull And Sometime Even Speedcore Industrial...superb Collection Of Sounds And Ideas... Bordellik And Authentic ! Powerfull !

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

All Tracks Written And Produced By Varuna.

Von D is back on his very own imprint with 2 hardcore dub bangers. Soundsystem music!

Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.

Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.

* 'Inventing Massive Attack, Soul II Soul, Tricky, Portishead, Bjork, Mo'Wax, trip hop, The Bristol Sound, Roni Size and just about every British dance record since 1988 that has attempted to meld dub, ambient and hip-hop beats. Ladies and gentlemen, give it up for Smith & Mighty.' Garry Mulholland, from 'The 500 Greatest Singles Since Punk and Disco'

* 'Though most people will think of Massive Attack, Portishead or even Roni Size when asked about Bristol's influence on UK music in the late 80s and 90s, really none of them have had anywhere near as much of an impact as Smith & Mighty. With a hand in the development of jungle, dubstep and the particular of-Bristol-ness that so defined the aforementioned artists, their influence is comparable to that of the city itself.' Crack

* 'Smith & Mighty are producers and originators. From 1985 onwards they took lovers rock, mixed it with heavier modern beats and came up with a new sound. All you needed was the drums, the voice and that spatial dub awareness to create something special.' Test Pressing

* Celebrating 30 years since their first release, on November 9th foundation laying forefathers Smith & Mighty release 'Ashley Road Sessions'. This special one-off double label partnership between Pinch's Tectonic and Peverelist's Punch Drunk is an endeavour in homage to their Bristol neighbours, whom they both hold in high regard.
* "Smith & Mighty are true pioneers in music whom I've found deeply inspirational on many levels. Tracks like 'Closer', 'U Dub' and 'Same' are some of my all-time favourites. To be putting out these unreleased gems is such an exciting project for both me and Tom. We both took a great deal of influence from Smith & Mighty - especially from 'Bass Is Maternal' - the album and era from which most of this compilation's source material originates." Pinch
* It's irrefutable and well documented that Smith & Mighty are integral to the story of Bristol music, but the duo (and occasional trio) are accountable not only as key proponents of that local sound, but also for propagating the wider array of much urban and electronic music, to this day.
Despite being inextricably linked to the South West England sound, 'Ashley Road Sessions' proffers an array of styles, the breadth and spectrum of which might surprise. Breakbeat, hardcore, balearica and acid house all feature as prominently as the dub, reggae, hip hop beats and soul for which they're most commonly associated. 'Smith & Mighty's lack of genre tribalism and melting pot approach certainly influenced how I make music', comments Peverelist.

* Especially timely in light of the recent breakbeat and jungle revival, this important document feels both historical and relevant, with the classic hip hop sample, crisp breakbeats and Gat Décor bass of perky opener 'Always Be There (Step Up)' sounding remarkably current.

* Airborne dub fx float around heavy beats on the sparse pulse of 'Stalagnate', which wouldn't seem out of place on Bokeh Versions, sounding both vintage and very now.

* The aptly titled 'Morning Light' surely soundtracked the end of long orbital rave nights, straddling funky hardcore breaks, emotive melody, sub bass and heartening Balearic optimism.

* The deft break chopping of 'Film Score' shows they could do deep jungle as well as anyone, contrasting with 'Higher Than Tempo' - a cerebral slow IDM trance dance, that was post 'E2 E4' and pre 'Landcruising'.
'Dub Song' seamlessly blends hardcore, jungle and steppers with a smooth liquidity, whilst frenetic sixteenths, hard snares and purring bass drive the skeletal head-snapper 'Through A Dark Cloud'.
Percussion and drum machines meet melodic chords on 'Leaving Pt 1 & 2', which exemplifies the plaintive, melancholy British bass, later made famous by Massive Attack.

* As FACT so aptly put it, 'with their productions it's all about the separation of sounds. The sense of size and distance between that massively present bass and the far distant subliminal instrumentation gives a sense of immersion, plunging you into an opiated dream of future cities.'


History:
* Bristol in the early eighties had both strong punk and reggae/soundsystem scenes, which birthed The Pop Group and later Rip Rig & Panic.

* One of the city's underground hangouts was the infamous Dug Out club, where DJs like Daddy G and Manfred from Def Con played soul, funk, post punk, reggae and eventually electro and hip hop.
In those days, Rob Smith was playing guitar in a local reggae band, while Ray Mighty belonged to the Three Stripe Soundsystem.

* They eventually met musically whilst in another local band named Sweat, where they discovered a mutual punk/DIY ethic and interest in linking beat machines, synths and sequencers together, which was relatively new at the time.
When Sweat eventually split, the pair got together, built a studio in Ray's flat on Ashley Road in St Paul's and started a label called 3 Stripe, in order to release their own records. They were not prepared for the interest this would generate.
1987 saw S&M's first release of sorts, whereby their version of 'Gymnopedies' by Erik Satie had vocals added by Mark Stewart (& The Mafia), who released it as his 12' 'This Is Stranger Than Love'.

* In 1987 Jackie Jackson visited Ashley Road, voicing 'Anyone Who Had A Heart' and 'Walk On By'; two sixties hits made famous by Dionne Warwick. By the following year Rob & Ray had worked the first of these recordings into a downtempo sound which blended dub, reggae, hip hop beats and even samples of the original track. After an introduction by Grant (Daddy G) to Lloyd at Revolver distribution, the pair released their first four track 12' 'Anyone' in 1988. The EP was to stay at the top of the indie chart for weeks. Smith & Mighty were up and running.

* 1988 saw the duo release a further 3 12' singles on 3 Stripe Records: R+R 's 'Acid Off A Way PT1&2', 'Walk On' (their second with Jackie Jackson) and 'Clash Of The Beats' featuring M.C. Kelz. That year also saw S&M mix and produce Massive Attack's first release - 'Any Love' - featuring Daddy Gee and Carlton.
In 1989 Smith & Mighty continued working their mixing and production magic with top 10 chart hit 'Wishing On A Star' by Fresh 4 Featuring Lizz. E (an act that included future D&B stars Krust and Suv), plus remixes of Neneh Cherry's worldwide smash 'Manchild'.

* They also signed to major label London records offshoot FFRR in '89, who in 1990 released the S&M-produced album 'The Call Is Strong' by Carlton. The album 'stiffed', but was later cited by critics as an unsung British soul gem.
'Steppers Delight EP', which featured the proto jungle track 'Killa' was released in 1992, then in 1994 they were dropped by FFRR, who didn't understand what the duo were about, expecting 'hits', in typical major fashion. This may have been a blessing in disguise, as the 'compromised' album they were coerced into delivering was permanently shelved.
Bruised and confused but bouncing back, they returned to the independent underground and formed More Rockers Records in 1995. They went back to the studio, salvaged some of the cooler elements from the failed deal and made a completely fresh and much more representative album - the now classic 'Bass Is Maternal' - released in 1998.
Interest in their sound picked up again almost immediately and they were invited to record a mix for the 'DJ Kicks' series on !K7. This new relationship proved fruitful and a 3 album deal was signed.
After the success of new album 'Big World, Small World' in 1999 and extensive world touring, 'Bass is Maternal' was reissued by !K7 with a much bigger release campaign. A difficult third album released in 2002 was met with mixed response.

* Rob Smith went on to release albums with Grand Central Records and Japanese labels Rush and Zetai Mu. Then one day whilst shopping in Bristol's Rooted Records, he had a conversation with Tom Ford AKA Peverelist, which led to a 12" release on Tom's Punch Drunk label, under the name RSD (Rob Smith Dub). This was the first in a string of 'dubstep' releases, that quickly attained classic status within the burgeoning and world-recognized Bristol scene.

First production of the label Sound Crack Records, 'Organic Feeling (Tool
Mix)' is a run through the jungle, savage, tribal, the raw nature animals of
Mama earth bring the feeling of being in the middle of them, the TR08 add a
kick to the efficient duo live drum Fleury Saint Denis. A real tool for house
and techno DJ's to pump the energy to the top.
On the B side comes 'Before Midnight (Evolution Mix)'. This techno track is a
trip in the urban jungle, when the city sounds are coming out of nowhere, the
melody of the steel tongue drum live played by DJ GSD is bringing the human
vibration to heal the soul. An old school touch of Detroit techno, mix with a
meaningful speech of Kennedy will take you travelling through the evolution of
mankind.

Hot On The Heels On Our Favourite Boy Wonder From Kazachstan Command Strange, Fokuz Now Presents Intelligent Manners Straight From St Petersburg.

This 12inch Perfectly Defines His Funky Style And Is A Great Addition To The Liquid Vibes Of Fokuz.

A - Still
Drops With A Soulful Piano And A Light Stepping Beat, The Vocal Slips In Subtle And Creates A Hypnotic Vibe. Piano's Floating Through The Air.. And You Will Imagine Yourself In A Smokey Bar Drinking Whiskey And Reminiscing Good Old Days.

B - Everybody Knows
Take Us Back To The Glory Days Of R'n B. Who Ever Thought The Russians Are Not The Most Funky People On The World, Guess Again. This Guy Is Funk Himself! Nice One.

We are extremely proud to have 4 tracks from Dominic Stanton aka Domu aka Sonar Circle aka Sonar's Ghost.

Dom's vast back catalogue spans over 20 years, the music on over 15 labels and many different genres. This body of work includes a number of Sonar Circle releases for the legendary Reinforced camp including a stunning long player entitled 'Radius'.

For Dope Plates Dom has lovingly and expertly put together 4 nostalgic and authentic tracks clearly taking inspiration from early 90s jungle, drum & bass and hardcore.

Enjoy the ride!

The Idealist has a lifelong background in out there electronic music and has been suffering just as long from a deep dub passion, which has been present in his works with outfits as Saturn and the Sun, The Skull Defekts, Orchestra of Constant Distress, and numerous collabs. But the dub has never been in full focus. Not until now. Two cuts recorded at the Gothenburg Sound Experiment; "Inner Space Dub" which is a sick, capturing thing and the flipside, "The Fire of Moses Dub" which features vocal by the legendary Genesis Breyer P-Orridge of Psychic TV and Throbbing Gristle. Dub music as close to the late 70's industrial music scene as classic Jamaican stuff which the Idealist loves to the bone. Passionate, honest music which pays tribute to its influences but also succeeds to look forward into the eternal future.

The Sound Exhibitions, for this release we are happy to present an EP with two songs with influences 'Afro Funk', the version titled Karma Experience and a song with a sharp groove from a very hot bass and ethnic sounds that give a magic to the song. The second song titled Soul Free and a fusion of various genres but stands out an Afro groove, certainly will be appreciated by the dance floors.

Well Rounded kick off 2019 with the return of 2 artists who previously released on the label.
FOAMPLATE featured on our first ever release with 'Fuzz'. SIBLA joined the party with 'Trial' on WRDubs 03.

Both of these new contributions show further evolutions of particular aspects of their unique styles.

After releasing three powerful edits of Fly Free in November 2017, Jon Dixon is back with a new Sampa EP. Inspired by the strong culture and rhythmic grooves of Sao Paulo Brazil, Dixon delivers 4 tracks sure to be a tool for any DJ. With the title track 'Paulista Avenue' already in the rotation of Derrick May, Radio Slave, and Gilles Peterson.

The 'Insights' EP is Spinscott's second release on the US based Elm Imprint label, as a highly anticipated follow up to the internationally successful 'Make It Funky / Lovelight' single. 'Insights' features 3 tracks that represent a progression of styles, and satisfies the demand for Classic Jungle sounds, fresh Drum And Bass, and deep '160' flavors.

Side A: 'Phaseout' - This forward-thinking Drum And Bass tune starts out with a moody & mixable intro, staccato drums and bass hits, before dropping into a precisely arranged dancefloor rhythm. Impact exceeds maximum threshold after the break, with the injection of an unexpected layered kick pattern, which has proven to leave no one standing still! But don't mix out too soon... the final phase features an exclusive drum break sourced from a family 45 pressing, circa 1968, sliced and reworked for it's debut appearance here. Phaseout has moved audiences during pre-release plays at Spinscott performances in the US, UK, and beyond.

Side B1: 'Rocker' - This 160 BPM tune was meticulously crafted using drums, effects, and other sounds from multiple genres of dance music, and engineered to make people move! Starting out on a jazzy tip with 808s, sax notes and various fx elements, it doesn't waste time getting to an onslaught of swinging drums and vocal artifacts. Rounding out with some classy Rhodes melodies, strings & short-cut Amens, 'Rocker' delivers an audible message for people to rock, swing, and move to the music! DJs will enjoy cutting in and out of this one, with many changes and elements to mix & blend with.

Side B2: (vinyl exclusive): '#7' - This oldschool style Jungle track FINALLY appears on the vinyl version of this release to satisfy over 5 years of relentless demand! Originally filmed as one of Spinscott's Real-Time Jungle videos, '#7' is the one that opened the floodgates to international recognition and performances worldwide. (see link below) Previously only available in video or performed live at shows, Spinscott has produced a full length 'dj friendly' version, featuring all the original elements of the original performance. '#7' was created and produced 100% on the MPC 1000 (as seen in the video), and features classic drum chops and layers, reverse bass, raw pads, and more.

Welcome to a time of global sousvelliance and psychophysical burnout _
Welcome to an inconsistent present that calls for schizophrenic rhythms and mutable harmonies _
Welcome to a future that doesn't need you anymore _
Welcome to your world _
Welcome to End2End _

Gimpmask wriggled out of the London sewer system to present his take on the current state of the social inadequacies in Britain today. From the poorly conceived Brexit vote to the injustice of homelessness and the countries drug epidemic. His gritty music conveys a certain sadness with its heart wrenching melodies enhanced by vague and distant vocals backed by simple yet solid grooves that serve to deliver a pure urban cinematic experience. Imagine if Banksy made music!

Het Interstedelijk Harmoniumverbond (The Intercity Harmonium Alliance) is the collaborative construction carrying Glen Steenkiste, Brecht Ameel, David Edren and Steve Marreyt on their quest for yet undiscovered dimensions of drone. Each member resides in one of the Flemish province capital cities (Brussels, Ghent, Antwerp and Bruges), they all play harmonium and share the genuine interest for temporality in music. Initiated from Steenkiste's idea to expand the solo harmonium of Hellvete into a more dialectic and immersive format, this new league had its premiere on Eastern Daze V festival in November 2018.

The release is an uncompromised gesture claiming one of today's main scarcities: the liberated and emancipated attention. The drone sound has a rare capacity to reflect upon the most delicate patterns of the human experience of time, hitting straight to its core: duration. Long, layered tones of four harmoniums stretch from past towards future, and from emotionally charged warmth of an ensemble to the coldness of post-human electronics. They trigger an uninterrupted flow of music and call for an intensified and extended ritual of contemplative listening on multiple levels. In regard to that, the recording process was carried out with an ambition to capture both micro sounds and detailed textures from each of the harmoniums, as well as the surround sound blended through the acoustics of space. The record comes with the extensive liner notes by the renowned essayist Sven Vitse (in Dutch).

Recording and mixing: Jürgen De Blonde
Mastered by: Christophe Albertijn
Photography: Krysztoff Dorion
Design: Ruttens-Wille
Tekst: Sven Vitse
Distribution: N.E.W.S.
Thanks to Kraak & Vooruit

Joint Forces is a collective of bass fiends from New Zealand. Comprised of Chewie, Mysterious D, and Soul Provider, the group came together from a shared love of the dark beats and heavy bass that once only drum and bass was able to provide.

Jung an Tagen is practicing sonic animism on a molecular level. With 'Agent im Objekt' he confronts us once more with a form of highly abstracted electronic music - puristic clubsounds for an accelerated future.

Kicking off with an accumulation of high-pitched, psychoactive sounds, 'Agent im Objekt' takes us into a hyperreal sphere reigned by sonic entities. Playing with swarm-dynamics and singular signals, moments of distance and proximity and noise textures that stimulate our perception, Jung An Tagen transgresses the common syntax of clubmusic. His strategies resemble computer music composition and focus on timbre, texture and structure in an almost analytical way. The sounds filtered from his synthesizer are polished and bright, but behave in an astonishingly organic way, forming propulsive melodic sketches. Arranged in multiple layers of versatile polyrhythms, the tracks are nurtured by the forceful dialectics of precisely arranged chaos and ecstatic order.

With his titles, Jung An Tagen is further adding an enigmatic narrative to his tracks, transcending the actual sphere of the dancefloor towards fictional storytelling. Following the structure of a one-sided chatlog, they evoke associations from the X-file series or mystery novels, revealing a brainteaser that is drawn from mysterious coordinates and secret codes.

In addition the official video "20:03 (Y) HOW IS THAT POSSIBLE" underlines Jung An Tagen's interdisciplinary interest in synaesthetic processes. Developed in collaboration with the programmers JeongHo Park and Scott Sinclair the video visualizes particle explosion data from CERN - the European Organization for Nuclear Research. Inspired by Peter Kubelkas 'Arnulf Rainer', the resulting geometric figures are exposed to a 'complimentary stroboscope' that glitches your receptors and stimulate your brainwaves with photo- and EEG-stimulation close to seizure, inducing a hallucinative reality.

'Agent im Objekt' is playful but analytical, uplifting but mentally disturbed. While the dynamic use of reoccuring motives forces your body to move, cerebral timbres provoke a series of stimuli to massage your brain. It is intellectual body music that might mark a poetic turn in progressive dance music.

Fourth release by Japanese artist Kosei Fukuda from his own platform. Great atmospheric sound scape with Japanese precision. Minimalistic Experimental IDM Techno. Including one Digital Bonus.

In celebration of Bold Monday's 10th anniversary we invited two of our favourite artists, Le Cliche (Gerard Ryan residing in Barcelona) and Colophon (Bas van Vuurde hailing from Haarlem) to compose six exclusive tracks. We are releasing those tracks as a special limited edition EP on vinyl.

Design of the outer and inner sleeve is by London based MuirMcNeil. We are longtime admirers of their work and were thrilled when Paul and Hamish agreed to design the artwork for this project. Final mastering was handled by Marco Spaventi in Amsterdam. The resulting digital audio files have been pressed on 140gr vinyl by Record Industry in Haarlem.

The tracks on this EP can be categorised as contemporary electronic music with a clear nod to its roots, while both artists opted for a different emphasis as well. Le Cliche composed the tracks Francophilia, Ergophobia and Chorophilia inspired by experimental postpunk and early synth pop. Colophon on the other side created Monospace and Methods of Synchronism referencing the more dance-oriented styles from 1980's New York and Detroit, with the track 574 Mondays serving as an ambient interlude.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES ON WHITE VINYL

'60s icon Marianne Faithfull released her commercial album Dangerous Acquaintances in 1981. The album, whose title refers to the French novel Les Liaisons Dangereuses contains amongst others the song 'For Beauty's Sake', which she co-wrote with Steve Winwood. She moved back to the mainstream rock territory and released some incredible tracks, like 'Truth, Bitter Truth' and 'So Sad'.

There are few people who can say they were discovered by The Rolling Stones, had a relationship with Mick Jagger, had several songs either inspired by or written about her, such as 'You Can't Always Get What You Want' and 'Wild Horses' by the Rolling Stones and 'Carrie Anne' by the Hollies. On top of that have overcome some serious drug addictions. And despite - or maybe thanks to the fact - that she has an impressive body of work, it's never quite clear what Ms Faithfull's roots are or what she's going to do next.

Dangerous Acquaintances is available as a limited edition of 1.000 individually numbered copies on white vinyl.

Molten Penguin is young project bringing together top instrumentalists from Ghent's experimental jazz/fusion/crossover-scene who profess their love for electronic music: Pieter Claus (Sinister Sister) on vibra, Dries Geusens (Nordmann) on bass, Jan Ghesquière (Sinister Sister) on guitar and Jonathan Callens (Imagine Raymond, Wasdaman) on drums.

Inspired by jazz, hiphop, drum&bass, Hudson Mohawke's boiler room sessions, the abstract electronic worlds of Aphex Twin and Amon Tobin, and anything even remotely oblique or askew, Molten Penguin is one of the select few bands who succeed in performing electronic music live in a ballsy way. Fired up by Pieter Claus' alien-sounding compositions and with the proper injection of high-tension improvisation, they give music a solid ass-kicking.

Highly danceable tracks 'Just Off' and 'Mad Spider' are just the perfect soundtrack for a club night, while musical highlights 'Yester Mo' and 'Spooky' really show off the band's composition, playing and sound bending skills.

From freak-out to chill-out, Montreal's favourite rave band joins NAFF with a debut double LP.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

Theres always something up with The Germans. An elusive quintet whose music has been balancing between pleasantly mundane and absolute racket since 2002. 4 years after the release of their instant cult classic 'Are Animals Different', followed by an equally legendary tour, the new chapter is upon us. On their new album 'Sexuality' (Unday Records), the band challenge the cult of celebrity and self-promotion by displaying their ugly as well as their sexy. The tone is confusingly kinky. Raw, at times uncomfortable and even abrasive, but also sultry, sweaty and exotic. Sexuality quoi, captured on tape, undisguised, by producer Micha Volders (Meteor Musik). Primitive percussion, tatty guitars, a lewd Hammond and many other instruments play a major role in this hot mush of psych, easy-listening, Flemish polyphony and cocktail jazz. Blixa Bargeld meets Tito Puente (and they end up in bed together). The Germans are (in random order of sexyness): Jakob Ampe, Vincent Cauwels, Lennert Jacobs, Timothy Jacobs en Boris Zeebroek.

Clear vinyl in gatefold sleeve, including
the album on cd format.On their new
album 'Sexuality', the band challenge
the cult of celebrity and selfpromotion by displaying their ugly as
well as their sexy. The tone is
confusingly kinky.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the first of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the second of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the third part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the forth part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

The Hedgehog Affair (Ron Wells & Spencer Thomas) present the fifth and final part of the legendary series of 90's Hardcore Jungle Techno, remastered and issued on Sound Entity Records. Cut & Repressed in the UK as part of an ongoing project by the Music Preservation Society to preserve Old School classics and keep them available for future generations.

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

Athens, Greece resident and Vanila records owner ANFS lands on Horo for an EP of jagged, industrial tinged Techno. Breakbeats are hacked and repurposed into brutal shards, with 'Kounoupi's amen march adding a slowed down, vicious take on the infamous roll. 'Salepsa' is a propulsive call to the floor, robust and emphatic, with 'Dervisis' and 'Komena' bookending the EP with rattling menace.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

LIMITED EDITION RUN OF 200

A gem of an EP, the "Untitled" track could easily have been mistaken for a Warp Records release or AFX. Techno to drive you nuts.
Written by my Sound Designer friend, Michael Bolton, at University in 1998.

The Driving Me Nuts track is a sample of our tutors reaction to a track I made she hated.

Voodoo Dance Malarky's intro would be worthy of a Chemical Bros track, full of little surprises and an evil break at the end.

Originally recorded to tape. Cleaned up by me years later, remastered by Subvert Central Mastering and cut at Curve Pusher. Pressing by Vinyl Presents on clear Vinyl.

Originally released on Rabbit City Records as a CD collection taken from the first batch of EP's on Rabbit City. Remastered and offered by Mike Wells on his own FMM imprint. Definitely one of my all time favourites from 1992, Force Mass Motions early work was very distinctive. A sound that owed a lot to how Mike Wells sourced a lot of his sounds. Listening to and taping Kiss FM and sampling it. With a home built sound card his brother made an Amiga was the centre of the studio. All the music was mixed down through an old Broadcast desk using a few clever delay line tricks that give the music a lot of depth. Very distinctive, totally original the music was caned by all the DJ's.

Just before Maceo Plex's Ellum Audio label reaches its half century, the influential outlet serves up a standout EP from fast rising talent Fred Lenix.

Iago Frederici is a young Brazilian music producer who merges new era electronic melodies with his unique perspective of Latin American and Turkish cultures. Always expressing himself well, he is a regular face in Sao Paolo who is driving the thriving local scene forwards, and this new EP is sure to win him plenty of new fans across Europe.

It kicks off with 'The Rails', a bristling tech track that is run through with wiry synths and frosty filters. It's cold and austere and perfect to shake up a big warehouse space with a real sense of futuristic drama.

Next comes 'Manipulated Dead', an excellent electro tinged number that builds the suspense with some edgy drum work and rumbling synths. A sense of cosmic ambiance lights up the background and make this a track with real feeling.

The slick electro bomb 'Manipulated Living' closes things out with excellent drum programming and taught kicks. The slippery synths bring real fluidity to the grooves and some distant pads enrich the whole thing with a sense of real serenity.

These are three fantastic tracks from a producer who is all set to blow up.

Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura - seen, felt, emitted - on his sixth album and second for RVNG Intl. Helado

Negro's 2016 album Private Energy, re-released as Private Energy (Expanded) in 2017, is an urgent affirmation of self-love and solidarity driven by Lange's personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist's visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like 'Young, Latin and Proud' and 'It's My Brown Skin' aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.

This Is How You Smile's opener 'Please Won't Please,' a call back to Private Energy, finds vitality in turning the privacy dial further inward. Setting the scene with a spare drumbeat that moves the music forward in a more maligned than militant march, Lange's voice tenderly permits himself weariness: 'We light ourselves on fire, just to see if anyone believes.' Something must be reserved, 'will anyone rescue what's left of me.' Diving into glimmering spirals, the remainder of the album takes leave of the broader 'we' and mines intimate pairings - siblings, parent / child relationships, partnership, and old friends. The story of This Is How You Smile includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in 'Seen My Aura.' The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of 'Imagining What to Do,' and loving partners deciding to make each other smile, while waiting for the sun to return.

This Is How You Smile derives from Jamaica Kincaid's 'Girl,' a story she wrote in the form of a mother's sole, complicated, but loving voice, speaking a 'How to' litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.

Contemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of 'Running,' seem to retrace the cyclical path of pop's familiar obsessions, addressing the unrequited, fickle, or feared lover, 'I feel you in my mind, all the time... you got me running, running...' Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one's own, even when we diverge, 'I see you in my hands... just like you.' The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear. Lange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In 'Fantasma Vaga,' one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear. This Is How You Smile invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are. The album will be released across various formats on March 9, 2019, with Helado Negro ever present on stages around the world in support.

Chances are if you are reading this, you are probably already familiar with Dinosaur L's Go Bang' and danced countless times to Loose Joints' "It's All Over My Face". A prolific musician, Arthur Russell produced an abundant amount of recordings over the course of his career. Although a classically trained cellist, he released a number of successful underground dance hits under various monikers and collaborations. As a solo artist however, his inability to complete projects resulted in a limited amount of official releases, World of Echo (1986) being his only full-length solo effort to see release in his lifetime. After releasing a number of Club singles on labels like West End & Sire, Russell went on to form Sleeping Bag Records with Will Socolov as an outlet for a sound not as restrictive as his "disco" material. The initial concept was that Russell would provide the musical direction while Socolov handled the business side. The label had huge success early on with Class Action's Weekend' remixed by Larry Levan, and Russell's seminal Go Bang,' credited to Dinosaur L and remixed by Francois Kevorkian. Although Russell and Socolov shared a lot of musical common ground, the difference in vision began to show. Russell's avant-garde sensibilities and perfectionism were not compatible with an industry standard to release singles in quick succession, and his "work in progress" approach began to be financially draining, ultimately resulting in the dissolution of their partnership around 1983. With Arthur's departure, Sleeping Bag moved away from the experimental and towards a successful hip-hop route with the growing involvement of Kurtis Mantronik and leading to propel the careers of artists like Todd Terry, Just-Ice and EPMD. By the mid-80s, Russell's health began to deteriorate after contracting HIV. Although the business partnership did not work out, Socolov and Russell maintained their friendship. Aware of the time he had left, Russell reached out to Socolov to record what was to become Indian Ocean, his last release on Sleeping Bag and the last great collaboration between Arthur and his old friend Walter Gibbons. Unlike the rest of Russell's Dance collaborations, School Bell/Treehouse' is very intimate composition, putting to the forefront all the elements that defined him musically, with his own voice and cello as the anchors to a piece that keeps growing in intensity, melding the tribal rhythms of Mustafa Ahmed's conga with percussions that sound like distorted drum machines. There is a lot of beauty in this piece, with Peter Zummo's melancholic trombone lines and Arthur's keyboard playing. Adequately "mixed with love" by Walter Gibbons, "School Bell/Treehouse" really synthesizes the energy and soundscapes of Arthur's dancefloor.

Following on from last year's releases by Neue Grafik and Selectors Assemble, CoOp Presents step into 2019 with a new 4-track EP courtesy of Oliver Night; a DJ, producer & singer born and raised in North London.

In addition to joining the Selectors Assemble family recently, Oliver is a member and producer of Roots Manuva's Banana Klan. He established himself as a DJ some 15 years ago, and has since played across the capital, from the Tate Modern to Boiler Room. His music has been supported in the past by the likes of Tony Humphries, Kerri Chandler & Seth Troxler,

This four-tracker illustrates Oliver's diverse range of influences, from the initial inspiration of his Jamaican uncle, musician Hughie Izachaar (who worked with Lee Scratch Perry & others), through to his passion for London's broken beat movement. Oliver's sound epitomises tru-skool UK sound-system ethics; grounded in reggae and dub production sensibilities, whilst built solidly for the bruk and house music dances of today.

The set kicks off with title track, 'Make Believe', featuring the powerhouse vocals of BB.JAMES aka Bethany Barnett Bywater, who's had previous releases with EVM128, Spoek Mathambo and Waze & Odyssey. London-based singer BB is a talent to watch in her own right, as proven on this monster of a track, which has all the ingredients to crossover & damage dancefloors underground and over. Sassy soulful vocals ride a woofer-shattering b-line and synth stabs with devastating effect - a sureshot future anthem.

Next up is 'Swing For Life', an instrumental jazz-house affair, which features the talents of Vancouver-born trumpeter, Jay Phelps - a highly-prolific, highly-acclaimed musician in the jazz world, who found his base in the capital over a decade ago and has since worked with a veritable who's who of international jazz artists, including Courtney Pine, Wynton Marsalis, Amy Winehouse, Hugh Masakela & George Benson, to name a few.

Finally, the flipside brings with it two versions of the cut 'U Got To', remixed by Selectors Assemble family, Cengiz, and label founders IG Culture (fresh from receiving a 'Lifetime Achievement Award' at the 2019 Worldwide Awards) and Alex Phountzi (formerly of Bugz In The Attic) aka NameBrandSound, delivering more of their signature bassweight business. Oliver unleashes his own vocal talents on this track, deftly demonstrating a rich, soulful Omar-esque quality to his voice, and completing a truly heavyweight debut for the label.

This record is huge. Essential business, no BS. A truly firing start to the new year for CoOp Presents.

Limited vinyl & digital available on ********

I'd Rather Be Lucky Than Good is a new recording collaboration of Sam Ashley and Werner Durand. Sam Ashley's mystic parables mbued with benevolent humor are drawn from a lifelong pursuit of a present-day shamanism. Werner Durand's wind work on invented and traditional instruments stems from the minimalist tradition, routed through his unique study of obscure world musics.The two artists first met in Berlin in 1984 while Sam was touring Atalanta with Robert Ashley's opera company, with whom he was a principle vocalist for many years. Sam Ashley's work has appeared on other Unseen Worlds releases (J. Jasmine: My New Music) and in solo and collaborative performances alongside "Blue" Gene Tyranny and other artists across the world.Werner Durand, also active since the late Seventies, performs music for saxophones, Iranian ney, and self-made wind instruments. He is a linchpin figure in the experimental music scene in Germany and abroad following formative studies with Ariel Kalma and Gilbert Artman in Paris, Indian Classical Music with Kamalesh Maitra, and Iranian Ney with Ali Reza Asgharia. He has worked notably with David Behrman (Music From Memory), Arnold Dreyblatt (Animal Magnetism), Muslimgauze, Henning Christiansen, Catherine Christer Hennix, David Toop, and Amelia Cuni.

Uncertain Hour - From The Latin Mors Certa, Hora Incerta (i.e. Death Is Certain, The Hour Is Uncertain (i.e. You Don't Know How Long You've Got So Fill That Snare Drum Quota While You Have The Chance)).

The Label Will Be All Sully Productions, All Jungle. So No Genre Hopping, No Home Listening, No Need To Preview Before Purchase Etc.

Vacancy - Rose Royce Is Smeared Across Spacetime And Punctuated With Slabs Of Winstons Shaped Concrete. The Odd Splash Of Water Or Cascade Of Piano Keys Offers A Little Respite But It's Generally All About Being Pummeled With Drum Transients From Every (in)conceivable Angle.

Digitalis - Piccolo Snares And Tambourines Get Sent Flying Forwards Before Spiralling Downwards And The Golden Ratios Are Picked Out On A Marimba Made Of Icicles. This Is All Underpinned And If I'm Honest Nearly Overwhelmed By 40hz Test Tones Built To Check Your Scoops' Driver Excursion Is Suitably Maxed Out.

Dj Support: Coco Bryce, Dead Man's Chest, Doc Scott, Foul Play, Fracture, Grade 10 International, Law, Om Unit, Silk Road Assassins.

Some of the most beloved music comes from heartbreak and loss. This 5-track EP by Honey Soundsystem's Be´zier was recorded in a vacant apartment unit in his grandmother's ('Amah') property in Tainan, Taiwan. Having to make the 15+ hour journey from SF to Taiwan multiple times in 2018, Be´zier set up shop in Amah's house surrounded by his live touring setup, a microphone, and the memories of loved ones recently passed. Away from his San Francisco analogue synth-based studio, Robert Yang (aka Be´zier) manipulated samples of his own vocals and mobile mono synths to tell his stories about returning home, honoring ancestry, and embrace life's hardest challenges. The result is a deeply personal release with track titles named after landmarks surrounding Amah's building, and songs both short and long, free of genre and tempo restrictions.

An all-time rave classic gets the Gerd Janson re-loving as he works his magic on the 1992 anthem 'Don't Go'.
26 years on from it's first release, Gerd takes the tempo down a notch laying out that all too familiar drum break, instantly recognisable piano line and Julie McDermott's timeless vocals. His subtle touches and added weight, behind a pounding kick, are sure to set any dancefloor alight. About as euphoric as they get - if this doesn't do the business then god help us all.
On the B side, Belfast's Ejeca flips 'Don't Go' into a heavy-hitting, rave tinged, techno bomb. His inventive sampling turns the synth stabs and vocals on their heads, making them almost indistinguishable, but no less impactful, from the original. It's over four and a half minutes till the iconic chord progression is heard in it's initial form, before Ejeca throws it back into a rapid fire, industrial thumper.Lastly, Gerd serves up a VIP Dub mix echoing claps and synth lines into the stratosphere whilst leaving the vocals at bay, save a short cry of 'Don't Go' from Julie towards the end of the track, allowing those anthemic elements to do the talking. A modern touch on an all-time classic from Gerd with a complete reinterpretation from Ejeca, this is a heavyweight release and one that's already being played by the biggest and the best out there.

Kreidler celebrate the 10th anniversary of their groundbreaking 2009 album, Mosaik 2014, with a remastered edition. The reissue of the record features an updated track list and is pressed onto 140g white vinyl.
Mosaik 2014 - that's how it is meant to sound. Arrangements that feel right, without me being able to map them out because all of the lines are woven together so intricately, and because the album was recorded mainly in a week of live sessions. Above all, this record has more. More rhythm, drums, percussion. More keyboards, better yet synthesizers that are immediate and cannot be turned away, sounds that demand something and yet retain great mystery. More off-kilter loops and more electrical storms. But it is all there to serve the same purpose: to make this the best Kreidler album of all Kreidler albums. There is a directness, and things come to the point while still leaving enough free space. There is longing, solace, fulfillment. In other words, big emotions.

KEY SELLING POINTS
- The best Kreidler album of all Kreidler albums
- 10th anniversary reissue
- Originally released 2009
- New mastering
- Updated track list
- Pressed onto 140g white vinyl
- Comes with printed inner sleeve

Brussels-based musician, photographer and lifeguard Roméo Poirier (aka Swim Platførm), makes sleek, subaqueous electro-acoustic music. His debut SURFACES EP was a soundtrack to four of Roméo's favourite swimming pools. These songs glide in and out of earshot, bustling like miniature engines, finely tuned and rhythmically confounding. They echo the factory sampling work of YMO on Technodelic: industrial but somehow good-natured, a symbiosis of machinery and wildlife - like an artificial reef or propeller blades smothered in algae. The gorgeous follow up tape, Plage Arrière, is an ode to eight Greek beaches. Poirier's palette here is vast: a swell of strings and electronics plunging fathoms deep amongst the clicks and whirrs of creatures unknown.

For his third record on Kit and first vinyl release, Kystwerk, Roméo joins forces with the poet Lars Haga Raavand, on a sonic expedition that traces the serrated coastline of Norway and the briny depths of the North Sea. Coastal field recordings intertwine with submerged electronics; discordant, Copland-esque brass emerges, like some menacing flotsam, and mesmerising tows of piano chords recall the disjointed harmonies of Jonny Greenwood or Murcof. Then, to cement the trance, Raavand lilts and enounces delicately, before he too is swallowed up.

Rua Sound Is Pleased To Announce We Are Back In Action For Of 2019, And A Welcome Return To The Label Of Touchy Subject, Coming In Fresh From His Aurora D Raynes Project With Dan Dans K In 2018.

Support From Tom Ravenscroft And Giles Peterson.

The Go-to Producers For Cosmic, Rootsy Takes On Up-tempo 160-170 Bass Music, Touchy Subject's Second Four-track 12" On Rua Ups The Ambition And Knocks It So Far Out Of The Park Its Broken Windows In The Next Parish Across.

The General Ep Veers Wildly Between Belligerent, Funky Takes On Dusty 90's Boom-bapàla Dj Shadow On "shudder" And 'turnt Up', Cavernous Soundsystem Workouts On "seek And Find", And The Febrile Halftime (just) Jungle (barely) Title-track "general" Bringing The Emotive Goosebump Vibes.

This Is Soundsystem Music Par Excellence, Cerebral, Heady, And Rousing.

We Apologise Profusely To Those Of You Whose Resolutions For 2019 Involved Losing Weight, But This Is Our Fattest Releases Yet.

'World Crime League vol I' is available on a small number of audio cassette
tapes.

Listeners will find inside 14 tracks of 1980s tinged synth and drum machine
workouts.

World Crime League hail from various locations around the world. They first
appeared in 2008 and have since spent time honing their approach. Their first
outing consists of three albums each composed and recorded in a day.

'World Crime League vol I' is the first of these recordings.

Tape / Cassette

Outernational free jazz madness from Lisbon trip Alförjs. It could as well be an ethnographic soundtrack from another planet as the trio of Mestre André (saxophone, electronics), Bernardo Álvares (contrabass) and Raphael Soares (drums) dwelve deep into the outer realms of what jazz/electronics music can sound like.

Urban shamanism, magical practices and ancient/future world views collide in unsuspecting ways on this out there tape.

An unique sound from an unique trio, 'Alförjs has a very special place among what is out there of more intriguing and radical in this final stretch of the 21st century's second decade.'

Banha da Cobra is a project of Lisbon based artists Mestre André (laptop) and Carlos Godinho (objects).
Stream of research and electroacoustic sound intervention, Banha da Cobra starts from the sonic imaginary of handcrafted, ritualistic and traditional activities and landscapes. The compositions are made as sound ruins, based on an ecology between the sustainability of the sound nature of the found - structures, places, objects, etc. - and their appropriation and transformation. The collecting inherent in this project of archaeological character is complemented with processes of alchemical manipulation like musical creation in real time.
On Mãe D'Água, Banha da Cobra present a live recording of their concert/performance on a 4x4 channels system at Mãe d'Água, 21st of September 2018 within the context of Lisboa Soa festival.
Mãe D'Água (Mother of Water) is an old water reservoir located in the center of Lisbon. It used to be the main reservoir for Lisbon being fed by a massive 19th Century aqueduct.

Auf seinem ersten Soloalbum spielte Bill Laurance jedes Instrument selbst ein. Im Mittelpunkt von
Cables steht Bills einzigartiges Klavierspiel, das auf acht brandneuen Tracks zu hören ist, die von
Electronica Elementen und subtilen Beats leben. Das Album wurde von zudem von Nic Hard Co
Produziert.

Random Numbers comes back with "Islands" EP by BXP.

An ecstatic recon through the meaning of isolation where field recording unfolds the ambient/techno sides of BXP's production. Born from nature, crafted in studio: techno meant for wide landscapes.

"Islands" is the result of a long search spent seeking sounds on various islands during his journey through south-east asia with a Tascam recorder and several directional microphones. He captured natural sounds from jungles, dunes, beaches and wild urban landscapes, not to mention the deep sounds of the Earth's elements: the sea, the wind, the interaction between man and nature.

Neues und erstes Album der ersten Industrial Metal-Supergroup mit Jürgen Engler von Die
Krupps, Claus Larsenvon Leæther Strip und Dino Cazares von Fear Factory. Geboten werden
10 perfekte neue Industrial-Tracks sowie eine neue Version des Klassikers She Watch Channel
Zero! von Public Enemy (1988). Das Pro-Shot-Video zu It's All In Vain zeigt Filmmaterial aus
dem kommenden Horrorfilm Devil's Revenge mit der Star Trek-Legende William Shatner.

An ode to a special place and time. Label-founder Dj Balduin is presenting 6 songs of dreamy ambient and house on his debut Mini-album.

Closing our unoficial New Weird Portugal tape batch on Sucata Tapes is Eosin aka Diana Combo with a mixtape of crackling and droney vinyl mixed with Field recordings recorded outdoors on a later summer afternoon in Alentejo. In Diana's own words:

''This piece was made during a residency in Elvas (Alentejo, Portugal), in the context of the first edition of the festival A Salto, in July 2016. Each one of the invited artists for this residency was given a specific place where to develop a work to be presented during the festival.
I spent a week at Fábrica Frutas Doces, a small 'factory" dedicated to the preparation and confection of prunes and plums in syrup. Some families have been linked to this sector of activity for several generations, as is the case of Luís Silveirinha family, the current owners at that time.
Frutas Doces isn't the only factory of this kind but it is the only one operating exclusively in an artisan way.
There, Luís and his only employee (back in the day the team of workers was larger) were cooking the plums, adding fire to the already high summer temperatures of around 40 degrees Celsius. This has to be done when the plums are collected, preserving the fruits at their best, so there is no escape from hell. 
I recorded bits of our exchange of words while they were doing their job. At home, I worked with a collection of vinyl records and made a composition using ones and the others.
It was like I was creating the tone, a certain voice of the space, a construction that becomes a new reality of it. Like a register of its possible soundtrack, one which means from the space and is crystalized by the manipulation I make over my perceptions of that place during that period.
At the same time, I joined Beniko, a visual artist, for the creation of her performance to be presented as the opening of A Salto, and one thing influenced and inspired the other.
The piece I have made was presented as a live composition using the pre-recorded bits, at the terrace of the Fábrica in a late afternoon that was surprisingly mild.

I decided to name the recording of this piece For Beniko, as she was an inspiration and remains as a beautiful memory of the time spent in Elvas.

Listening to the piece is a way to go back in time, relocate there and remember the period of its creation. Sounds can bring images, other sounds, feelings, smells and taste to memory in a way that is so acute and live, even when the material that documents that certain reality is a construction of it, quite afar from its figurative or realistic representation.''
Diana Combo, January 2018

300 COPIES BLACK VINYL REPRESS

Remastered from Digital Masters

Originally released in 1990 on hardcore imprint Brainiak - written and produced by Dave Campbell.

REPRESSED ON RED VINYL !!

New from Sucata Tapes (Discrepant), comes a new project by Berlin-based artists Pedro Silva (turntable percussion) and Stefan Brunner (guitar and field recordings).
The Hour of the Wolf is an improvisational piece based on an associative storyline, written by Stefan Brunner and divided into 8 chapters. We invite you to look at the score http://hourofthewolf.org while you play this tape.

Recorded live @ Ausland Berlin.

POP AMBIENT 2012 begins in an unusually new but nevertheless somehow familiar fashion. MOHN with MANIFESTO is the opening act. A manifest of slowness. A slowness that Jörg Burger and Wolfgang Voigt have taken up as new mission. MOHN is their new ambient-grunge-down-beat project, scheduled to depart on its official musical journey to Middle Earth early 2012.

Mahoney's voice vacillates smoothly between ghostly and falsetto, while McNany's arrangements and instrumentation bump, click, and whirr like a lovingly tuned Rube Goldberg jukebox. Not too surprising, perhaps, considering they named the band after a song by schizophrenic outsider favorite Daniel Johnston, and they cite Harry Nilsson and Roxy Music as influences. - VIBE

New from Sucata Tapes (Discrepant), comes a mini album by Gonçalo F Cardoso's most experimental and retro avant-garde moniker, Papillon.

After an LP back in 2013 (S/T) and a 2-part tape (Aqueducts) for Dinzu Artefacts in 2016, the Henri Charrière inspired alter ego hasn't been the most prolific of late. He now returns with 7 mini-vignettes full of mood swings, silly 'ambiances' and made up stories to make you dream and wonder (why). Featuring contributions from Mike Cooper (Guitar) and Yannick Dauby (Field Recs and Modulators).
This mini-album will be the precursor to Papillon's swan song aka final album (Le Banco) to be released on main label Discrepant early 2020. For now recline on your burnt up sofa chair and enter the schizophrenic trip wonderland of Papillon's Cercueill Flottant.
Artwork by the ever talented Evan Crankshaw

From the heart of the strange, suburban environment known as the San Fernando Valley, a vast sprawl on the edge of Los Angeles, Scott Gilmore produces his own brand of seductive, beguiling and dreamy pop music.

This is how Scott describes what he does: 'I make music using synthesizers, drum machines, electric bass, and acoustic and electric guitars. I try to write music that is both beautiful and engaging. I enjoy writing many melodies,

harmonies and counter melodies into my compositions to develop a sense of forward motion. My main influences include Brian Eno, Cluster, Kraftwerk, Stereolab, Talking Heads, YMO, '70's and '80's Ethiopian Music, J.S. Bach,

and the out-takes from the Beach Boys' Smile Sessions.' (from an interview in Titel - Kultur Magazine) His first album 'Subtle Vertigo' elicited praise from the media. Comparisons to

sounds as diverse as those of Air, Stereolab, Italian film music from the '70s and to solitary eccentrics such as R. Stevie Moore and Captain Beefheart were drawn.

From the media reactions to Scott Gilmore's previous album: 'It takes its principal stylistic cues from Krautrock and library music; the album often sounds like Air's Moon Safari or Stereolab's Dots and Loops run through

a beat-up transistor radio that's been wrapped in cheesecloth.' - Pitchfork

'Light, melodious, somehow simultaneously of 'now' and plausibly a hitherto unheard relic from a bygone age.' - Vice

'A bedroom pop experimentalist. Dreamy.' - Stereogum

Destituent is Soles 7th solo studio album. Sole is a co-founder of the legendary anticon label, and last year as Vice noted, Sole is a pioneer of underground avant-garde rap. Destituent is an album about the innate

human capacity to solve problems and build new forms of life without the need for government and coercion. Musically this entirely self produced album is a departure from most of his

work, featuring heavy New Wave / No Wave influence, almost to the point of being poppy, but the subject matter ensures that it never could be. Walls of noise, upbeat drum breaks, swelling distorted synths, poetic streams of

consciousness and polyrhythmic rhyming styles. Anarchy, the call of the wild and the power of music.His work has been featured in Spin, C-Span, Democracy Now, Vice, 2 DopeBoyz,

The Intercept, Truthout, and countless other outlets. Sole proves that you can make thoughtful music that works in the headphones, on the dance floor, and on the barricades.

We are proud to present our first release of 2019, Kaleidoscope vol. II, featuring two new roster additions (Dalek One and Phossa) alongside label residents Clearlight and Bisweed.

01 - Dalek One - Frequency Shock

American talent Dalek One shows why he's quickly rising in the 140 scene with this debut release on Subaltern. And what a debut it is - 'Frequency Shock' with its ecstatic bass and synth lines gets everything right in all the right places, and we are honoured to press it to wax.

02 - Clearlight - Stuck Inside

Diving into deeper realms is Subaltern resident and psychedelic wizard Clearlight. 'Stuck Inside' lures the listener into a seductive maze of towering resonating frequencies. Once this pill has been swallowed there's no easy way out - this track is sure to be stuck inside your head for a while.

03 - Phossa - Vacant

Another young talent - UK based Phossa - makes his first mark on the Subaltern roster with an intricate piece of sub science. Carried by distinctive bells and spooky vocals, the young Bristolian shows off his extraordinary production style.

04 - Bisweed - Profound

Rounding off this showcase of fresh sounds from the Subaltern universe is everyone's favourite Estonian - Bisweed! Following on from the acclaimed Subalt014 EP, this track oozes his trademark confidence in composition and sound design. Percussive fireworks, heavy subs and menacing synths combine to create an enthralling piece of music.

The Belgian party organisation and record label De:tuned mark their 10th anniversary with the first outing of their 10 x 12'' series. 'DE:10.01' kicks off with a special treat from the 90s golden era: on offer a welcome combination of previously unreleased DAT material by Kirk Degiorgio and expertly affectionate As One remix treatments of both original Sensurreal and Jedi Knights (Mark Pritchard and Tom Middleton) work, pure bliss.
The artwork of the first 9 collectable releases of the series forms a 3 x 3 poster display. De:tuned have called on designer Kevin Foakes (Openmind, DJ Food, Ninja Tune) to create all graphic work.
This kickstarter for the series is mastered by Matt Colton (Alchemy Mastering) and pressed on 180 gr vinyl. A separate digital version of every release will be available from the usual digital shops. Stay tuned!

'Chuck Johnson's impact on the contemporary guitar
world continues to be felt. His first two solo records signaled
the arrival of a unique player, steeped in various forms
of playing and influence, yet distinctly modern. Johnson
eschews a weathered traditionalism for the wide-scope
expanse of 21st Century Americana.
'On his third album, Blood Moon Boulder, Johnson
reaches a compositional peak in a nod to the picturesque
naturalism of the American landscape. The dynamics of
his range can be felt on this singular record, a soundtracklike
listen that rewards the ear with rich detail.
'His precision and tone recall the heights of Ry Cooder's
Paris, Texas on the extended opening track 'Corvid Tactics.'
Notably, the guitarist duels with a phantom Chinese radio
signal that slips through the silences during the recording
session.
'One can hear the ghostly sounds peek through at moments
as Johnson bends his strings. 'Medicine Map' delivers a
melodic melancholy, with an every-note-perfectly-placed
aesthetic. Rather than ramble or evoke some kind of
outdated nostalgia, Johnson lets his cinematic instincts
take lead.
'Perhaps most evocative of this approach is 'Private
Violence,' a meditative composition with gorgeous pedal
steel played on top of electric six-string, ending in a
sustained tonal minimalism that could easily stretch into
a whole LP of its own. Blood Moon Boulder contains a
lyricism, an exactitude and emotional arc all its own. And
that's worth playing again and again.'
—Steve Lowenthal, author of Dance of Death: The Life
of John Fahey, American Guitarist

INCLUDES REMIXES BY PESHAY & STU M
Limited Edition 12" Vinyl

Remastered and recut by MUSIC PRESERVATION SOCIETY

'Shays Vacation House' is a work that feels suspended in time - both ancient and modern -- a microcosm that ceases to exist in any particular time or space...exceptional acousmatic sound design animates amorphous creatures and entities, whose movements echo on dripping walls, yet the eerie, mysterious environment remains entirely ambiguous. hovering above the post-apocalyptic landscape of a scorched planet regenerating. Emra Grid's second Opal Tape is a profoundly beautiful work, loaded with emotional weight

Stay straight to the line. This ep is dedicated to Gerard, king of the Kings, the man won the 2017 Razzle battle.

Warning : Countrymans, do not listen to this record if you are not accustomed.

Ambient from a long going figure of the Shanghai scene. LP + poster + insert in spot-varnished sleeve..

2 spicy cuts straight from the cosmic kitchen. Made to a secret recipe using only the finest classic sources blended with trademark chops and sonics to produce a scorching hand stamped vinyl only release for the true connoisseurs. If you've heard Fracture's 2018 mix series or heard him play over the past year you'll know both these tracks. They're hot so please take care when handling and wash hands before and after use.

The hyper blaze of Jay Mitta's debut LP 'Tatizo Pesa' kicks off a trio of searing Singeli albums from the sound's ground zero - the Sisso Studios of the Mburahati ghetto, Dar Es Salaam, Tanzania. A breathtaking boost of 180bpm+ rhythms, syncopated loops and nagging hooks, 'Tatizo Pesa' notably introduces 14 year old MC sensation Dogo Janja alongside nine knockout instrumentals that make much western dance musics seem prissy and pedestrian.
Despatched by the acclaimed Nyege Nyege Tapes outta Kampala, Uganda; 'Tatizo Pesa' presents the raw, untrammelled energy of Tanzanian Singeli with immediate effect. Like his peers, Bamba Pana, DJ Balotelli, and DJ Longo, Jay Mitta combines traces of older, local folk melodies with elements of 'Bongo Flava', or up-to-the-minute Swahili rap music, but at breakneck tempos that give the sound its inexorable energy and verve. Their style takes traditional music into orbit of contemporary,
accelerated styles ranging from Grenedan Jab Jab/Soca to Chicago footwork, hardcore UK rave and
French flashcore Jay Mitta's debut offering renders the lushest, variegated spectrum of Singeli since the style emerged in its current form only a few years ago. On the one hand he plays up to pure rave needs with outright steamers such as 'Don Bet', and the ratchet tension of 'Mwakidimba', but they're balanced with hip hop swagger in the standout title tune featuring 13 year old Dogo Janja, and the deep south bounce-esque of 'Masera', while the mercurial quickstep of 'Dura' and 'Mchuma Bet' are bound to snag wider-eared ravers with their so-fast-they're-weightless string and key arrangements.
It's very hard to ignore that with 'Tatizo Pesa' Jay Mitta has produced a new and unmissable high-water mark of the ancient yet up-to-the-second East African music bound to translate directly to all willing bodies.

'From Here to Eternity' is the first full length album from Canadian composer Kyle Bobby Dunn since his 2014 long play, 'Infinite Sadness'.

The use of processed guitar and his passion for cinematic swells reaches new realms that are markedly more ominous and dense than his previous long play. Kyle Bobby Dunn also recruited prominent ambient composers and a handful of his favorite musicians to arrange their own instrumentation for several works on this release that add multiple layers of mystery and intrigue of the human mind and heart. Artists that contributed to this effort are: Benoît Pioulard, Simon Scott, Loscil, Pan-American, Wayne Robert Thomas, Isaac Helsen, Mark Nelson, Robert Donne, Maryam Sirvan, and Michael Vincent Waller.

Kyle Bobby Dunn wanted this album to be very much about the eternal conflict with all human emotions and life circumstances and to somehow go even further than the concepts left behind on 'Infinite Sadness'. The moods and sounds range from angelic choral elements to motion picture soundtrack epics; permeating the skeletal system of the listener with a sense of boundaries and mortality. There are also moments that capture the dynamics of the artist performing in the live setting perfectly and were engineered meticulously by Matt Rogalsky and Kyle Bobby Dunn himself. Truly a difficult album of unending loss, confusion, pain, identity, disease and even death, but also include the most reflective and warm moments of his career to date.

The master jammer returns! Opal are so proud to release this set of four beautiful, sun filled pieces of pure electronic music. Ged Gengras' Personable project is the boiled down syrup of many years spent learning his craft within synthesis. Captured directly from live home studio recording, each track lives and breathes in it's own space, 'Gambetti' serves a light structure of rattling snares and resonant bass boops dressed up with gorgeous, almost gothic hanging notes. 'Window' is a funked slice of Ged at his best, referencing grime/garage structure but extended out into am 11+ minute epic that conjures buccolic idyll, like funky sunshine. B-side opener 'Oyster' flips the vibe inward into a more paranoid number, similarly long form and rolling but with all melody turning in on itself and riffs decaying away into thin whispers. To close; the stunning 'Cormorant' forms itself from a bed of padded out bliss. Reminiscent of Oval or Pinkcourtesyphone, the track haunts with a breathy sadness which pulses forwards into squash court squeaks and deep forward facing kick drums. Every time I listen to Personable I'm hearing someone who approaches their instruments as a player, no concepts or grand ideas, just playing a synthesiser and doing it so well.

*Limted to 300 copies worldwide* It all began in summer 2017 when Peter Broderick's former Efterklang bandmate Rasmus Stolberg invited him to perform at his new festival in Denmark, with the specific idea that Peter would play an entire set of Arthur Russell songs. As a long-time lover of Arthur's work, Peter immediately accepted the invitation and began to learn a collection of Russell songs. Stolberg put together a band of Danish musicians to join Broderick on stage, and the festival performance went off without a hitch.

Immediately after, Peter starting receiving invitations from other festivals, asking for the same thing — a full set of Arthur Russell songs. Even Arthur's long-time partner Tom Lee took notice of these performances of Arthur's work, and reached out to Peter personally. It wasn't long before Broderick was invited to examine some of Russell's archival work, and asked to do audio restoration work on the old tapes.

Peter's strong love for Arthur's work grew exponentially as he dove into the psyche of his hero, listening to hours and hours of unreleased material. He discovered that some of his favorite Russell songs have yet to be heard by the masses, and felt inspired to learn some of these tunes himself.

It was inevitable that Peter would record an album of his own renditions of Arthur's songs. And there was no better place to do it than the state of Maine, where most of Arthur's surviving family are based, and where Broderick himself was born back in 1987. With a large cast of friends and family, including Arthur's niece Rachel Henry and nephew Beau Lisy, Peter set out to capture his love for Arthur's music with a diverse collection of 10 songs, two of which have yet to be released in their original versions.

Its cover adorned with an original painting by Tom Lee, 'Peter Broderick & Friends Play Arthur Russell' is a vibrant and joyful tribute to one of Broderick's greatest heroes. Peter extends his deepest gratitude to all of Arthur's family, friends and fans who have so warmly welcomed his own versions of these tunes. It is hoped that these recordings will serve to honor the truly staggering legacy of Arthur Russell.

40 years after disbanding comes 'Fond Reflections', the
debut album that never was from cult 4AD band Rema
Rema.
Rema-Rema featured former members of The Models
and Siouxsie and The Banshees and their much-loved
'Wheel In The Roses' EP (1980) was among the first
records to be released on 4AD. Their only contribution
to the label's storied history, they split-up before its
release, going on to form or join bands as diverse as
Renegade Soundwave, The Wolfgang Press, Mass and
Adam and the Ants.
The debut album that never was, 'Fond Reflections'
comes almost forty years after their debut EP and has
been culled from the band's rich archive of reel-to-reel
and cassette recordings, with member Gary Asquith and
mixing engineer Takatsuna Mukai painstakingly working
on them to make the album as cohesive as possible.
The ten tracks pretty much reflect the band's live set
and is the closest to what their debut album could have
sounded like. Worth noting too that although all their
1980 EP tracks are present on the album, they are all
from different recordings.
The 2CD edition comes with a second disc entitled
'Extended Wheel In The Roses'. As its title suggests, it's
the four EP tracks as they were plus 'Entry' (taken from
the same studio session as the EP's A-side of 'Feedback
Song' and 'Rema- Rema') and 'No Applause' and
'Murdermuzic', two more tracks recorded at the same
1979 Albany Empire, London show as the EP's B-side,
'Instrumental' and 'Fond Affections'.

Heavy, Effective 1990s Uk Hardcore/ Ukg Revival Cuts From Soundbwoy Killah On His Debut Sneaker Social Club 12"

One of drum & bass' shining lights and a huge personal favourite of ours at Dispatch, we are proud to welcome Spirit to the label with 'The Fourth Cycle EP'.

Few can match Spirit's quality and consistency and this EP is no exception; the perfect balance between soul and grit; iridescently delivered with tantilising progression.

Effortlessly fusing techno, trance and electro influences, with deep, driving bass, Spirit reflects drum & bass in its purest form; his music holding sublime longevity.

Instantly transporting us back into any number of nostalgic periods from this scene, Spirit presents his superb debut Dispatch EP.

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.
The sixth piece of The Golden Ravedays puzzle will be released on Hippie Dance in June 2017.

Number 6 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.
Side A features Protest Song. If music is a way of transporting us to other places, Protest Song takes us to a desolate, scary and loveless environment, a burnt-down, burnt-out place where the flesh of its former inhabitants is smouldering, void of goodwill and kindness in a cloud of toxic and greedy smoke. It's all Kafka and Orwell and Suffering - the most twisted and eerie track so far in The Golden Ravedays saga. What is undeniably clear is an acute sense of regret and loss - a warning that it could have been avoided, had we only listened to our hearts and protested.
In the same vein on Side B we hear powerful Resistance. Produced after the Paris attacks of 2015 Superpitcher outdid himself with this strong message of Resistance. Where Protest Song paints a picture of under-worldly doom, Resistance's techno beat and insistent refrain sweeps us to the surface of the muck of hatred and intolerance we've politically been dumped in. A voice that seems like a trapped animal is calling out to us. What is it trying to say Is it crying out for help Is that animal all of us Resistance represents hope and encouragement and could be the perfect marching track to any demonstration against negative forces. Much needed in this age of bigotry where it seems like time has leaped backwards to a darker side of history. As for the dancefloor - Resistance is irresistible!

The mercurial, industrial pop fetishism of 'Raging Tender' forms the 3rd and most impressive EP from producer Jan Grebenstein and vocalist Christine Seefried for Karl O'Connor/Regis' Downwards label
Stepping on from 2016's 'Strong Proud Stupid and Superior' LP, rebenstein's sound is now tauter, more spacious and seductively strung out, finding a sublime tension between quicksilver slow/fast drum programming and deadpan gothic delivery. Their means of production is still bare-bones minimal in an economical Berlin style that has served the duo very well thus far, from their self-titled debut for Downwards in 2014 thru to more
recent outings on experimental D&B labels Horo and Osiris Music UK.
Title cut 'Raging Tender' zips up fanged arps and needle-toothed hi-hats under Christine's close mic'd vocal with hypnotic poise and force, before 'Breathe' diffuses and unlocks that anaerobic tension with tantric 808 rhythms. After lulling listeners into a false sense of security, 'Arab Icon' raises the heart rate again with jarringly atonal electronics and an unyielding rhythmic grip, while the title and feel of 'Body Electric' speak to the duo's most
prurient desires, with Christine's opiated, any-hole's-a-goal mantra of 'I Sing The Body Electric' set to knackered, bummed-out pads and oozing bass.These are uncompromising, virulent songs about sex, death, and dancing that will surely resonate with knowing connoisseurs of the contemporary darkside.

'Futuro' is Not Waving's sublime synth/ambient soundtrack to one of the world's most intense art/theatre experiences: Sean Rogg's radical immersive artwork 'The Waldorf Project' - fusing choreography, spatial design, music and performance into a cohesive experience.
Drawn from more than 20 hours of material made for the project between 2013-2018, 'Futuro' finds Alessio Natalizia exploring a style of tonal and spatial minimalism that works as a fine palette cleanser from much of what you've heard from him in the past. While not a new solo album, per se, the long form, Eno-like results of 'Futuro' demonstrate the full wingspan of Not Waving's obsessive knowledge and emotive feel for electronic composition, making it in some senses one of the more substantial and unusual releases in his catalogue to date.
Natalizia's site-specific work ranges from highly emotive synth meditations thru to bittersweet Kosmische intuitions, and milky, Eno-esque beauties. But if any part sums up the widescreen scope of Not Waving's music in 'Futuro', it's the final side's 17 minutes of awning, gently curdled synth pads - originally used in a performance to 4000 people in Thailand laid in pitch black, with bodies formed in triangles while dancers caressed their faces. It ends the album with such memorable effect as to make it something of a modern day environmental/ambient classic - and perhaps our favourite Not Waving release in an already enviably deep catalogue.

This might be the most old skool of old skool releases possible. The legendary Sublove, creator of some of the finest old skool hardcore in history, appears here on this luxurious double pack with four represses, one unreleased track and three epic remixes of his classics. The four represses are all distinctly Sublove in style, technical but heavy, and all have been lovingly remastered: Maniac Music, Drum And Bass Programme, She Moves and One By One make up the remastered represses, and a never before released version of One By One is a treasure form the archives.
Meanwhile, the remixers featured include two heavyweight hardcore artists, Liquid and Hyper On Experience, both of whom bring their customary and unique styles to the proceedings. And rounding off the EP is new artist Mannik on the remix of Drum And Bass Programme, giving it a darker, harder twist but keeping the original flavor. Simply put, this is one of the best 'new' old skool releases ever.

A new addition to our ever-growing discoid dance club is Curses. With recent releases on Snap Crackle & Pop, Bordello A Parigi and Dischi Autunno, the Italo American brings something a little darker to our party - four cuts of EBM influenced madness. Bone crunching snares and B-Movie samples sit atop shimmering synth licks that will be right at home on a wide variety of modern and retro dance-floors.

DJs Doc Scott, Muffler, Monita,
-
Having rounded off 2018 in style with his debut EP for the mighty METALHEADZ, FANU the beat manipulator opens 2019 with a bang. Marking the return of STRAIGHT UP BREAKBEAT - the 1st jungle / drum'n'bass label out of Finland established 1996 - FANU delivers two majestic pieces of music.

12-bit sits nicely at 155 BPM mark, sounding fresh and vintage at the same time. Smooth pads coupled with drum patterns only a select few can construct.
The double A-side steps into jazzier mode but makes sure not to fake the funk. Tight beats and a halftempo surprise at the end.

Serving up another fierce 4-track EP, Inner Sunset Recording's Low Top (Homero G.) is back at full force as The Honorable Mr. Top. This 12 doesn't waver one bit from the classic dance vibes that Inner Sunset Recordings is hailed for, nor does it fail to deliver the same excellent variety and quality that can be found throughout the label's highly sought-after catalog. Side A's two mixes of To Fantasize offer up a superbly crafted nod to classic US/UK garage and house sensibilities. Side B's That Happy Day is a brilliant and flashy hybrid of deep house and breaks-driven grooves, while Lunar Launch Candidate dares to defy genre classification, taking the dance floor on a wild and pumping ride through atmospheric pads, deep organs, rave stabs and rolling breakbeats. This EP is sure to go down as one of the label's seminal releases, so grab your copy now before it disappears!

The next installment of the Dispatch Dubplate series is brought to you by the classic combination of Beta 2 & Zero T. From the rough and rugged 'Amalfi' to the dreamy digital exclusive 'Like Yesterday', this release showcases the broad spectrum of magic that happens when these two get together.

Staying true to the spirit of Dispatch Dubplate 'Sleepwalkers' is yet another previously unreleased exclusive, first heard in February 2018 - featuring in Zero T's guest mix for the BBC Radio 1 Drum and Bass Show.

On March 15th Erased Tapes presents the invigorating and powerful debut solo album Lines of Sight by Australian-born, Liverpool-based composer, saxophonist and founder of Immix Ensemble, Daniel Thorne. Deeply moving, full of otherworldly beauty and rapture, the album is alive, throbbing like a circulatory system, colourful and glowing. It literally dazzles - effectively capturing what the birth (or death) of a planet might sound like.

In Daniel's own words, 'Thematically, this music was inspired by birds-eye aerial images and the idea of perspective - how something incredibly complex like a river or the surface of the ocean is reduced to a simple line or shape when viewed from the heavens. The line between natural and man-made becomes increasingly blurred.'

Every strand is fresh, vital and purposeful. The description 'seamless' might suggest a smooth, bland fusion, but here elements overlap in intermittent, undulating layers of mesh. Avant-garde, noise, electronics, ecclesiastical, classical, a touch of jazz and traces of Wyatt-style contemporary folk come together, each occupying their own space while acquiescing with the whole.

'Several compositions are derived from ratios and processes, and are highly calculated, while others evolved in a much more organic way. I wanted to create music that blurred lines between acoustic and electronic, organic and synthetic, composition and improvisation.
I've long been a fan of studio-based composition, but have always found the infinite possibilities on offer daunting and, often, a stumbling block. To get around this I set myself a challenge of limiting myself to the physical instruments in my possession - a few different saxophones and a bass synth, with no more than four tracks to record them,' he adds.

Lines of Sight follows Thorne's work as artistic director of the acclaimed, collaboration-focussed group Immix Ensemble. Together with experimental electronic artist Vessel, he co-wrote Transition released on Erased Tapes in 2016, described by BBC Radio 6's Mary Anne Hobbs as 'a remarkable new piece of music'. More recently, he worked with acclaimed modular synth wizard Luke Abbott, to create a four-part suite, which was premiered live in June 2017. Immix Ensemble have also performed special live commissions with Kelly Lee Owens, Dialect, Jane Weaver and Bill Ryder-Jones, among others.

Prior to leaving Australia, Daniel was fortunate to work with some of the country's leading new music ensembles as both a composer and performer, receiving commissions from the TURA New Music Festival and the Australia Council, as well as being appointed as Composer in Residence at the Western Australian Academy of Performing Arts. In the UK he was the recipient of the prestigious Dankworth Prize for Jazz Composition, and also undertook a residency at Metal Liverpool, which provided him with the time and space to create Immix.

As the first track under Thorne's own name, 'Iroise' was recorded for the Erased Tapes 10th anniversary release 1+1=X, alongside works by Nils Frahm, Penguin Cafe, A Winged Victory For The Sullen and Rival Consoles. He also recently remixed Manu Delago, known as the live percussionist for Björk and Ólafur Arnalds. After a first solo performance at Sea Change Festival 2018, the new year will see Daniel tour across Europe, promoting the forthcoming release of Lines of Sight.

"Drawn and Quartered" once again shows Scott Monteith to be one of modern dub's true masters.

Of all of the personalities to emerge from the Mutek affiliated Montreal electronic music scene which exploded onto the global stage at the turn of the millennium Scott Monteith, better known to audiences worldwide as Deadbeat, has unquestionably shown himself to be its most prolific and restless spirit. Through a steady stream of critically acclaimed singles and 7 studio albums for labels such as ~Scape, Echocord, Wagon Repair and most recently his own BLKRTZ imprint, and his genre defining Radio Rothko mix, which drew comparisons to some of the greatest mix CDs of all time (Richie Hawtin's Decks, EFX & 909 : Jeff Mills's Live at the Liquid Room), Monteith has established himself as perhaps Dub Techno's greatest champion. Yet anyone intimately familiar with said catalog could rightly accuse even that lofty title of being an over simplification. In a genre dominated by stoic reverence to the creative framework laid down by Mark Ernestus and Mortiz Von Oswald's Basic Channel and related projects of the mid 90s, Monteith has consistently charted his own course over the last 13 years, tearing up and re-writing the rule book several times over. Having burrowed to the very deepest depths of echo and dread of the Jamaican variety with last year's hypnotic Drawn and Quartered album, Deadbeat once again sets sail into uncharted waters with his latest hour long salvo, humbly entitled Eight.

Restored from the original analogue tapes, presented on
HD audio.
Pressed on dark green vinyl.
Originally released in 1982, 'I, Assassin' is Gary Numan's
sixth studio album and fourth under his own name.
Combining fretless bass with heavy rock drumming,
Numan further refined his dark, sparse, funky-electro style,
mixing it with impenetrable, slurred vocals.
Numan recorded and wrote most of the music between
January and March 1982, following his infamous round
the-world trip in a light aircraft and a near-death crash
onto a British road while co-piloting a spiralling Cessna.
Three of the album's songs made it into the UK Top 20.
According to Numan, who was still only 24-years-old at the
time, 'the round-the-world flight, the plane crash, these
were big things that helped me shape a new opinion of


myself. Those experiences gave me a self-confidence, a
genuine strength that I hadn't had before.' Twenty years
later, the singer enthused, 'I still think it's one of the best
albums I've made.'
I, Assassin's heavily percussive approach led to several
tracks becoming unexpected intruders on American
dancefloors, notably the 12' single of 'Music For
Chameleons' and a specially remixed US version of 'White
Boys And Heroes'.
'I, Assassin' stands out as a record fiercely propelled by
powerful rhythms in songs laced with an earthy cynicism.
''I, Assassin' also utilizes the warped elasticity of fretless
bass lines underneath his customary monotone vocalising
and abstract lyricism. Highlighted by the upbeat synthetic
funk of 'We Take Mystery To Bed' & 'White Boys', 'I,
Assassin' is an in-depth examination of genuine dance
music roots.' - URB Magazine

Meg Duffy grew up in a small town in Upstate New York and they cut their teeth as a session guitarist and touring member of Kevin Morby's band. The Hand Habits project emerged after Meg moved to Los Angeles; it started as a private songwriting outlet but soon evolved into a fully-fledged band with Meg at the helm. Hand Habits' debut album, Wildly Idle (Humble Before The Void), was released by Woodsist Records in 2017. The LP was entirely self-produced and recorded in Meg's home during spare moments when they weren't touring. Wildly Idle (Humble Before The Void) is a lush, homespun collection of folk songs that found Meg in an exploratory state as an artist moving out on their own for the first time. Two years later, Hand Habits has returned with their sophomore album, placeholder. To make this album, Meg chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer. This album is as tender and immediate as anything Meg's ever written, but it's also intensely focused and refined, the work of a meticulous musician ready to share their singular vision with the world.

The name placeholder stems from Meg's fascination with the undefinable. Their songs serve as openings -- carved-out spaces waiting to be endowed with meaning. As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. 'A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,' Meg says. 'These are all real stories. I don't fictionalize much.'

Meg describes these songs as their most direct to date, crafted with clear intention, and unlike Wildly Humble (Idle Before The Void), placeholder doesn't meander. 'It's less of a submerged landscape and more a concise series of thoughts,' Meg explains. Instrumentally, placeholder can be situated alongside some of Meg's folk-adjacent contemporaries like Angel Olsen or Big Thief, and the guitar work on this album proves that Meg continues to be one of the finest young musicians working today. placeholder is another entry in the Hand Habits songbook, but it's also a valuable testament of our time. While placeholder inspires a sense of ease, simple questions rarely beget easy answers and Meg honors the indescribable joy and profound sorrow that comes with figuring things out, one step at a time.





[E] 5. yr heart [reprise]

Innercore return, this time with four killer old school back to '92 Piano Hardcore tracks. No cheese, just Dance floor vibes.Matt 'Teksteppa' Wilkins introduces to you the InnerCore Project Volume 2, This time the aim was to capture the '92 Piano rave feel, and there is also a Jungle Techno style track on the EP for good measure! Since releasing Volume 1, InnerCore have had releases with other label such as Peace On Wax Records, Kniteforce Records, And other signings are in the works! You can also catch InnerCore DJing up and down the UK at various events
including 'Calling The Hardcore'. InnerCore's music is also being supported by some major key players in the old skool hardcore scene, such as Billy 'Daniel' Bunter and DJ Shock C (Eclipse/Amneisa House).

Remastered and recut by MUSIC PRESERVATION SOCIETY

Some two years after dropping his debut album, "Broken Knowz", Jay Daniel delivers a follow-up. Interestingly, the fast-rising Detroit producer opted to move away from his usual club sound on "Tala", recently telling Resident Advisor that it was, "an invitation to know me outside of DJing". It's as deep, jazzy and musically rich as you'd expect, with Daniel flitting between jazz-funk/broken beat fusion, spacey ambient soundscapes, head-nodding hip-hop beats, intergalactic R&B instrumentals, super-smooth beatdown fare and the kind of hushed, glassy-eyed grooves that are best enjoyed while lying flat on your back at six in the morning.

First Terrace Records is thrilled to announce that Justin Wright - the Montreal cellist & composer hand-picked for support duties by luminaries such as Colin Stetson, Hauschka,  Bing & Ruth, and the late great Jóhann Jóhannsson - is gliding calmly into the spotlight with his debut long player.

With an assembled quartet of violin, viola, cello and double bass, the record was tracked in Rolston Hall at the Banff Centre, in the Canadian Rocky Mountains, and carries in its sound the location's stately beauty.

Over the duration of Music For Staying Warm, nine experimental compositions and improvisations are unwound for the listeners pleasure, each with its own gentle patience, as Justin invites you to 'relinquish your sense of anticipation' and enjoy the drift.

Announcing itself like sunshine on frost, Harmonic Loops opens the record and begins to thaw the path ahead. Throughout the album, woollen strings swell at their unforced pace and combine to swaddle the brain's pleasure sensors in frequent moments of pure hygge.